Dunham's latest has a particularly game cast, and a solid concept, but Dunham makes this feel like a collection of mismatched ideas and inconsistent characters.

The ensemble is the main reason why the film has its delightful instances, especially when it comes to the scenes in which He, Ka-Yan Lam, and Chau are featured. But, ultimately, the script lacks the originality or the character development necessary to give its multiple couples their ideal sendoffs.

It's a nice slice-of-life character-driven film, which is always great to see, but there is very little drama or conflict to keep the viewer invested past the colorful animation.

Hulu's Whitney Wolfe biopic never tries to break free from the predictable confines of the genre.

If anyone could’ve updated this story for 2023, it’s Barris—as he's shown with black-ish. But instead, You People is a missed opportunity, a half-assed reinterpretation that is only sporadically funny, and without the heart or the substance that this story would need for it to truly work.

For all the ways it takes flight towards the end, Plane is an action flick that is mostly plain, the greatest sin for any film that should and could have gotten wilder.

What hurts Waking Karma more than anything else is the lack of polishing both the screenplay and direction got. And with a little more production time, the movie could have become something more memorable.

While fans of Cox and Beckinsale‘s work might still enjoy some moments of Prisoner’s Daughter, the overall lack of polish in the script makes for a dull experience that’s filled with inconsistencies.

My Father’s Dragon abandons a truly heartfelt storyline with complex layers in favor of a generic adventure with vague threats, vague solutions, and predictable outcomes.

It is a film that sets out to sink its teeth into something a bit deeper and more inventive only to merely serve up an experience with little to actually chew on.

If written well and with the same care as its direction, this could have conveyed a sense of more genuine tragedy. Regrettably, for all the ways the performances try to eschew convention for a bit more substance, it is a losing battle from start to finish.

Yates makes Pain Hustlers part-rowdy dramedy, part-half-assed takedown, and entirely an underwhelming film that attempts to make apparent and bland points.

Poker Face constantly tries to raise the bet and bring new elements to the table, but you quickly realize it’s all a bluff. It doesn’t know how to build tension and anticipation and does no effort to work on its characters. It also doesn’t know how to convey a thrilling poker game, and after stumbling through completely disposable plot points, it tries to wrap its story up with life lessons that are as generic as the movie itself.

There is a cacophony of sound and color which provides some spark to it all. It just is burdened by unshakably tiresome plotting that is made all the more meaningless when it decides to walk back much of what already felt far too small in its creative and emotional scope.

Beyond these two endearing actors being able to gleefully chew the scenery, The Gray Man is mostly a collection of tired spy tropes, directed in a muddled and baffling way, that seemingly exists to set up what seems like will be a fairly unimaginative franchise.

With The Son, Zeller is trying to bring the same sincerity he brought to The Father into his second film, and instead, The Son unfortunately feels false throughout.

The shocking images of Superpower can move us, but the movie ends up being nothing more than a piece of propaganda. Even worse, the documentary is a wasted opportunity to give a proper voice to the people who still live and fight in Ukraine. Instead, Superpower seems more concerned about contributing to the mystification of Zelensky and the image of Penn as a lonesome and brave hero.

Aside from The Mean One himself, there was too much not to like in this film.

By the time it all eventually wraps up with some lackluster lessons conveyed via a painfully sappy final scene, you’ll wish the film had taken the chance to go on a journey with Keaton and Paige instead of whatever this all was.

While Snook does all she can to give the experience some heft, Run Rabbit Run is a horror film in search of something greater others have already achieved that it is never able to find.

For a film about a supposedly historic and harrowing journey to the moon, it never manages to charter any new territory of its own.

There are moments of terror near the beginning, but it gets far too tangled up in a generic narrative that drowns out any sense of vision. Even with some striking visual moments and excellent sound design, it is all in service of regrettably very little.

Ultimately, The Munsters is not a good movie. But it is great fodder to put on in the background of a Halloween party. It is best when used as a visual asset; something you may only want to catch a couple of minutes of dialogue from, but otherwise, it’s best left as background imagery.

Disney has been at the forefront of animation in film for much of its 100 years and their legacy is unparalleled. That’s a lot to put on the shoulders of any animated film, but Wish, with its mundane celebration of this history, is a disappointing commemoration of these accomplishments.

Your Place or Mine has a decent premise with a great cast and is fun at times with moments that are sweet and showcase great potential for an enjoyable rom-com, but it never hits the mark and only works in pieces.

For all the promising threads it pulls on surrounding a variety of faith traditions, The Exorcist: Believer doesn't earn your belief or your fear. Where Friedkin's classic will endure forever, this superficial sequel remains stuck in the past. It may try to speak all the same verses, but it doesn't add new life to any of them.

When it then shifts into being about the case itself with the characters trying to get to the bottom of it all, the humor feels like it is mostly coasting off of the chemistry of Sandler and Aniston. This can hold things together for a while as both bounce off each other effectively, but the film soon is revealed to just be a recycling of jokes the first film already did better.

There is never a sense that Collette is phoning it in, but the entire narrative around her is just too flimsy to hold together for a full feature. In isolation, there are some solid gags and throwaway jokes that connect. The trouble is that they are just increasingly few and far between. It all makes for a film that oddly feels like it is playing it safe, relying on the charisma of its lead and offering little else beyond that.